This is a mixed-media landscape painting on a 103cm x 76cm deep edge canvas. It is semi abstract and expressionistic in terms of technique and style. It is based on my day to day experience of living in the dramatic Fenland landscape of East Cambridgeshire in England. The heavy texture of the painting combines gesso, sand, plaster and oil paint. The material and paint is applied with a variety of tools including brushes and palette knives with the surface is built up in layers and glazes over a period of time. I have been influenced by the contemporary artists Anselm Kiefer and Gerhardt Richter.
In nature time is always occupied; endlessly engaged, transforming surfaces, altering appearances….. staining and corroding, layering and revealing, cleansing and encasing.
This image uses successive layers of cold wax, allowing for heavy impasto and fine incisions with a variety of tools and instruments. It is based directly on the landscape of the Fens seen within a ten mile radius of Ely cathedral. Most days I am out on my bike, cycling through this landscape in all weathers…I stop to draw, take photographs and just allow the scenes to etch into my memory.
New video of me painting in my art studio and playing the banjo in claw hammer style. I hope you like it!
Tweet me @petecorrart
This work is inspired by the flat,expansive and mysterious landscape of the Cambridgeshire Fenland…a vast area of open skies and distant horizons, criss crossed by a lattice of artificial waterways…straight as an arrow.
I hope that viewers will be engaged by the layers of colour, texture and surface qualities of this cold wax painting and also that they will respond to the physicality of this work, the numerous marks, striations and incisions in the cold wax material. I hope too, they will enjoy the interaction of disparate surfaces and layers and the sense of time passing through the landscape and through the painting.
This painting reflects a diverse series of influences; from the ‘art povera’ movement, through minimalism, expressionism and colour field painting.
The additional photographs provide a clearer understanding of the translucency, subtlety and rich texture of the surface.
Detail from ‘The New Voyager’
Cambridge Open Studios will be taking place over the next 4 weekends and this is a fantastic opportunity to have a chat with some of the local artists in the county and look at their work. I will be opening my ‘garage’ – seems a little grandiose to call it a studio – for the next two weekends from 11am until 6 pm Saturday and Sunday. Everyone is welcome to come and see what I have been producing over the last copule of years. I will also have some of my photographic work on display alongside the paintings.
The shot above was taken today…just trying to organise the space as you can see…if you do drop in, just be careful of the wet paint!
This is a large acrylic painting on a 122 cm x 72 cm professional quality canvas. It is semi abstract in terms of technique and style. It is based on the rhythms and cycle of growth seen in nature. There is a spiralling arc of movement…….. upwards towards the light. The surface is built up in heavy impasto layers, these are combined with tissue, leaves, newsprint and card. Additional translucent glazes have been added over time. I have been influenced by the contemporary artists Anselm Kiefer and Gerhardt Richter.
Mixed Media painting on canvas:60 x 60 x 4cm
This is a mixed-media landscape painting on a 60cm x 60cm deep edge canvas. It is semi abstract and expressionistic in terms of technique and style. It is based on my day to day experience of living in the dramatic Fenland landscape of East Cambridgeshire in England. The word ’till’ is interchangeable with ‘until’ and I have tried to reflect both meanings in this piece. Working with the land is about understanding time and intervals of time, it is about rhythms of activity and inactivity, of waiting, of anticipating……until. It can also refer to a vault; a place to hold treasure.
The heavy texture of the painting combines gesso, sand, plaster, marble dust, bitumen and oil paint. The material and paint is applied with a variety of tools including brushes and palette knives. The surface is built up in layers and glazes over a period of time. I have been influenced by the contemporary artists Anselm Kiefer and Gerhardt Richter.
‘Land Fall’ is an idea, not a location. In Winter, when the ground is hard underfoot, the activity of man scores pathways and coordinates on the surface. There is little or no high land in Cambridgeshire, only a gentle rise and fall of the earth, almost subliminal, to be measured in micro centimetres. This painting is a rich, textured mixed media piece on a deep edge canvas; gold and metallic paints have been added to create areas of lustre and iridescence. I have attempted to take a range of photographs, some in raking light to reveal the ever changing surface qualities.
Dimensions: 60cm x 60cm x 4cm on canvas
Materials: Oil and acrylic on canvas, Paper, Graphite, Bitumen, Asphalt.
I have 3 paintings in the COAX Annual Exhibition 2016, come along and take a look at over 600 works on display….today and tomorrow only!
The Preview Reception took place on Friday18th November at 6.30pm and the Awards Ceremony was opened by local MP Heidi Allen.
Free entry over the weekend with plenty of parking.
Friday (Preview reception): 6:30pm – 9:30pm
Saturday: 10:00am – 5:00pm
Sunday: 10:00am – 4:00pm
Exhibiting artists compete for the Cambridge Art Awards with a top prize of £500, runners-up awards of framing prizes kindly provided by Milton based HMC Framing and this year the Top Twenty chosen artists will go forward to a two week exhibition at the Babylon Gallery in Ely.
Interviewer Frankie Lowe of Cambridge TV discussing the new exhibition ‘Cambridge Envisaged’ with Peter Corr at the Michaelhouse Centre today. The interview can be seen on Thursday evening and also includes talks with artists Paul Janssens and Caroline Forward.
‘Mercurial’ is a painting I have just completed for the ‘Cambridge Envisaged’ Exhibition; the composition, structure and style closely follows the other images in the series. I have retained the square format, recurring geometric shapes and warm tonality seen in previous works. The influence of American abstract expressionism is visible in the flatness and absence of overt representation; at the same time I have tried to convey a sense of the architectural qualities of the city of Cambridge. The painting is designed as a bridge between two different vantage points, an aerial or plan view of buildings, rivers and parks and a vertical ‘stacking’ of these interconnected and interchangeable motifs. The Cubists kaleidoscopic rendering of physical objects and space has liberated us all to see the world through our own eyes and intuition.
‘Mercurial’ Close up detail